Sunday, December 29, 2019

Flash Fiction Definition and History

Flash fiction goes by many names, including microfiction, microstories, short-shorts, short short stories, very short stories, sudden fiction, postcard fiction and nanofiction. While it can be difficult to pinpoint an exact definition of flash fiction based on word count, consideration of several of its features can help provide clarity about this compressed form of short story. CharacteristicsofFlash Fiction Brevity.  Regardless of the specific word count, flash fiction attempts to condense a story into the fewest words possible. To look at it another way, flash fiction tries to tell the biggest, richest, most complex story possible within a certain word limit.A beginning, middle, and end.  In contrast to a vignette or reflection, most flash fiction tends to emphasize  plot. While there are certainly exceptions to this rule, telling a complete story is part of the excitement of working in this condensed form.A twist or surprise at the end.  Again, there are plenty of exceptions to this rule, but setting up expectations and then turning them upside down in a short space is one hallmark of successful flash fiction. Length There is no universal agreement about the length of flash fiction, but it is usually fewer than 1,000 words long. In general, microfiction and nanofiction tend to be extremely brief. Short short stories are a little longer and sudden fiction tends to be the longest of the short forms, all of which can be referred to by the umbrella term flash fiction. Usually, the length of flash fiction is determined by the specific book, magazine or website thats publishing the story. Esquire magazine, for example, held  a flash fiction contest in 2012 in which the word count was determined by the number of years the magazine had  been in publication. National Public Radios Three-Minute Fiction contest asks writers to submit stories that can be read in less than three minutes. While the contest does have a 600-word limit, clearly the length of reading time is more important than the number of words. Background Examples of very short stories can be found throughout history and across many cultures, but there is no question that flash fiction is currently enjoying an immense wave of popularity. Two editors who have been influential in popularizing the form are Robert Shapard and James Thomas, who began publishing their Sudden Fiction series, featuring stories of fewer than 2,000 words, in the 1980s. Since then, they have continued to publish flash fiction anthologies, including New Sudden Fiction, Flash Fiction Forward and Sudden Fiction Latino, sometimes in collaboration with other editors. Another important early player in the flash fiction movement was Jerome Stern, the director of the creative writing program at Florida State University, which inaugurated its Worlds Best Short Short Story contest in 1986. At the time, the contest challenged participants to write a complete short story in no more than 250 words, though the limit for this contest has since been raised to 500 words. Though some writers initially eyed flash fiction with skepticism, others embraced the challenge of telling a complete story in the fewest words possible, and readers responded enthusiastically. Its safe to say that flash fiction has now gained mainstream acceptance. For its July 2006 issue, for instance, O, The Oprah Magazine  commissioned flash fiction by well-known authors such as Antonya Nelson, Amy Hempel, and Stuart Dybek. Today, flash fiction contests, anthologies and websites abound. Literary journals that traditionally have published only longer stories now frequently feature works of flash fiction in their pages as well. Six-Word Stories One of the most famous examples of flash fiction, often misattributed to Ernest Hemingway, is the six-word story, For sale: baby shoes, never worn. Garson OToole at Quote Investigator has done extensive work tracing the origin of this story if youd like to learn more about it. The baby shoes story has spawned so many websites and publications devoted to six-word stories that it merits special mention here. Readers and writers have clearly been captivated by the depth of emotion hinted at by these six words. It is so sad to imagine why those baby shoes were never needed, and even sadder to imagine the stoic person who picked himself or herself up from loss and got down to the practical work of taking out a classified ad to sell the shoes. For carefully curated six-word stories, try Narrative magazine. Narrative is very selective about all the work they publish, so youll find only a handful of six-word stories there every year, but all of them resonate. For six-word nonfiction, Smith Magazine is well known for its six-word memoir collections, most notably Not Quite What I Was Planning. Purpose With its seemingly arbitrary word limits, you might be wondering what the point of flash fiction is. But when every writer works within the same constraints, whether its 79 words or 500 words, flash fiction becomes almost like a game or a sport. Rules increase creativity and showcase talent. Almost anyone with a ladder could drop a basketball through a hoop, but it takes a real athlete to dodge the competition and make a 3-point shot during a game. Likewise, the rules of flash fiction challenge writers to squeeze more meaning out of language than they might ever have thought possible, leaving readers awestruck by their accomplishments.

Saturday, December 21, 2019

Analysis of Because I Could Not Stop for Death - 2013 Words

Analysis of Because I Could Not Stop for Death The poets of the nineteenth century wrote on a variety of topics. One often used topic is that of death. The theme of death has been approached in many different ways. Emily Dickinson is one of the numerous poets who uses death as the subject of several of her poems. In her poem Because I Could Not Stop for Death, death is portrayed as a gentleman who comes to give the speaker a ride to eternity. Throughout the poem, Dickinson develops her unusual interpretation of death and, by doing so, composes a poem full of imagery that is both unique and thought provoking. Through Dickinsons precise style of writing, effective use of literary elements, and vivid imagery, she creates a poem†¦show more content†¦Society in the 1800s viewed death as being morbid and evil. Dickinson, on the other hand, made death into being pleasant. She portrays death as being a kind gentleman, perhaps even a suitor, who is taking her out for a ride in a carriage. The imagery in Because assists in the creation of a pleasant tone. Dickinson describes children playing, which also gives the poem a more affable mood. Another way in which Dickinson makes death a more agreeable subject for the reader is in the fifth quatrain as she compares the grave to a house. In line 17, she writes, We paused before a House. As she does so, the reader gets the image of a young lady being dropped off at her home by her suitor. However, as Dickinson goes on to write in line 18, A Swelling of the Ground-, the reader is reminded that it is actually a grave that she is being taken to. Her grave is also portrayed as a house in lines 19 and 20 as she writes, The Roof was scarcely visible- / The Cornice-in the Ground. The cornice can be viewed as being either the ornamental roofing around the speakers house, or as the molding around her coffin. By comparing the grave to a house, Dickinson helps to lighten the tone of the graveyard scene. The only time when Dickinson does give the reader a true sense of mortality is as the sun passes the speaker. She portrays the sense of mortality isShow MoreRelatedAnalysis Of Because I Could Not Stop For Death963 Words   |  4 Pagesâ€Å"Because I Could Not Stop For Death,† and â€Å"The Bustle in a House† are two poems by Emily Dickinson that portray death in very different ways. â€Å" Because I Could Not Stop For Death† is written from the perspective of a woman who has recently died about her eternal journey with a kind Death. â€Å"The Bustle in a House,† on the other hand, is about how one reacts to the death of a loved one. Through these two poems, Dickinson employs literary devices such as personification and metaphor to portray two differentRead MoreAnalysis Of `` Because I Could Not Stop For Death ``870 Words   |  4 PagesThemes of death all ring loud and clear in Dickinson’s â€Å"Because I could not stop for Death†, Donne’s â€Å"Death, be not proud†, and Cherry’s â€Å"Alzheimer’s†. The poems are not explicitly about the act of dying, but death is personified or even foreshadowed in the work. Each piece has a different tone when referencing Death. Two of the poems reference Death by name, the last poem doesn’t specificall y speak about dying or death per se, but based on the title, â€Å"Alzheimer’s†, it is clear that death is imminentRead MoreBecause I Could Not Stop for Death Analysis Essay1972 Words   |  8 Pagesâ€Å"Because I Could Not Stop For Death† Analysis The poem, â€Å"Because I Could Not Stop For Death,† by Emily Dickinson presents captivating themes on the cycle of life, time, and death. The first two lines, â€Å"Because I could not stop for death - / He kindly stopped for me – â€Å" (Dickinson 679; Stanza 1, Line 1 2), capture the poem’s central theme, but the interpretations of that theme vary widely. This variation would have to do with how one would interpret Death. The three variedRead MoreBecause I Could Not Stop For Death Literary Analysis918 Words   |  4 Pagesand a positive subject, death, on the other hand, has numerous definitions between each person. Some people consider death to be morbid, horrifying, and a negative thing, whereas others celebrate death and believe that their soul will live forever. Each of the countless observations of life and death are portrayed in diverse types of literature. One contributor and writer of such literature includes Emily Dickinson. In her poems â€Å"Because I Could Not Stop for Death† and â€Å"I Felt a Funeral in My Brain†Read MoreAnalysis of Because I Could Not Stop for Death Essay1188 Words   |  5 Pageswhere regular themes include death and mortality. One such poem that exemplifies her â€Å"dark side† is, â€Å"Because I Could Not Stop for Death†. In this piece, Dickinson tells the story of a soul’s transition into the afterlife showing t hat time and death have outright power over our lives and can make what was once significant become meaningless. While we now know this poem as â€Å"Because I Could Not Stop for Death†, it was originally an untitled piece. After Dickinson’s death, her younger sister LaviniaRead More Analysis of Emily Dickinsons Because I Could Not Stop for Death803 Words   |  4 PagesAnalysis of Emily Dickinsons Because I Could Not Stop for Death In regard to Emily Dickinson’s poem, â€Å"Because I Could Not Stop for Death,† Critic Eunice Glenn says: â€Å"In the first two lines Death, personified as a carriage driver, stops for one who could not stop for him. The word ‘kindly’ is particularly meaningful, for it instantly characterizes Death. This comes with surprise, too, since death is more often considered grim and terrible† (Glenn). Critic Charles R. Anderson says, â€Å"DeathRead More Analysis of Emily Dickinsons Poem, Because I could not stop for Death693 Words   |  3 PagesAnalysis of Emily Dickinsons Poem, Because I could not stop for Death The poem Because I Could Not Stop for Death by Emily Dickinson expresses the speakers reflection on death. The poem focuses on the concept of life after death. This poems setting mirrors the circumstances by which death approaches, and death appears kind and compassionate. It is through the promise of immortality that fear is removed, and death not only becomes acceptable, but welcomed as well. As human beings,Read More An Analysis of Emily Dickinsons Poem, Because I Could Not Stop for Death626 Words   |  3 PagesIn the poem â€Å"Because I could not stop for Death† by Emily Dickinson refers to death as a gentlemen who unexpectedly visits Dickinson to take her on a journey â€Å"towards eternity† (I. 24). It is very ironic that she considers death as a gentleman, but as we all know it is the total opposite. On the second stanza they both start the slow and peaceful journey. â€Å"We slowly drove, he knew no haste† (I. 5). We can see the tranquility of the scene in which they are. Dickinson here understands the seriousnessRead MoreAnalysis Of The Article Death And Dying By Matthew Arnold And Because I Could Not Stop For Death977 Words   |  4 PagesIn the article â€Å"Death and Dying in Literature,† John Skelton stated, â€Å"One of the central tasks of literature is to impose a structure on life and death, giving meaning to both† ( n.p.). Many literary works, including poems, focus on death in one way or another. This is true for â€Å"Dover Beach† by Matthew Arnold and â€Å"Because I could not stop for Death† by Emily Dickinson. â€Å"Dover Beach† and â€Å"Because I could not stop for Death† provide varying perspectives on the topic of death. In â€Å"Dover Beach,† ArnoldRead More Analysis of I Heard a Fly Buzz When I Died and Because I Could Not Stop for Death by Emily Dickinson593 Words   |  3 PagesAnalysis of I Heard a Fly Buzz When I Died and Because I Could Not Stop for Death by Emily Dickinson Emily Dickinson wrote many poems in her lifetime. She writes two of my favorite poems. They are: ?I heard a Fly buzz when I died? and ?Because I could not stop for Death?. They both have similarities and differences from each other. There are similarities in these two poems such as the theme and the observentness of the narrator. Both of the poems themes involve death. In ?I heard

Friday, December 13, 2019

Starbucks Target Market Free Essays

?Starbucks Target Market Starbucks Target market is nine-to-five workers inurban centers and surrounding suburbs, but in general any age, and any person too. Their costumers identifying a clear Value proposal, because is best communicated simply when  some person had made the decision to drop into a retail store, stay awhile, and then share with co-workers the next day the experience had there. Howard Schultz said in his vision of Starbucks that â€Å"you get more than the finest coffee when you visit†¦ you get great people, first-rate music, a comfortable and upbeat meeting place, and sound advice on brewing excellent coffee at home. We will write a custom essay sample on Starbucks Target Market or any similar topic only for you Order Now In positioning itself as a unique entity in a land with nothing similar, a Starbucks store was promoted to be â€Å"a place where you can sit back and be yourself. † The company vision included that â€Å"at home you’re part of a family†¦ at work you’re part of a company†¦ and somewhere in between†¦ † there is a Starbucks! So the Starbucks product, while ingrained in its coffee, is really the overall experience. The price of an actual brewed cup of coffee was consistent with the image of being â€Å"a notch above† or a â€Å"worthwhile experience†Ã¢â‚¬â€œhigher than most competitors. And the place where Starbucks offered its product was primarily its retail outlets. To experience Starbucks fully, one must go to an actual Starbucks location. In this respect, the location of a Starbucks relative to customer convenience was important, and Starbucks developed a â€Å"real estate opportunistic† attitude to address this–that is it did not necessarily wait for the ideal building or lot to become available, Starbucks was flexible in terms of retail space layout and design to fit the location convenience of its target market How to cite Starbucks Target Market, Papers

Thursday, December 5, 2019

Compare and Contrast strategies Glastonbury v T in the Park free essay sample

Strategy is the long-term direction of an organisation (Exploring Strategy: Johnson, Whittington, Scholes 2011). It allows a method or plan to be derived as a way of achieving long-term goals and objectives. Organisations will use strategy to foresee their future and identify any potential problems that may arise in order to accommodate and avoid them. There are a diverse range of models that can be used to form the strategic plan of an organisation such as Porter’s five forces framework and VRIN. With regards to music festivals, which are highly popular events that attract over 7.7 million attenders in the UK every year (UK Music 2012), it is essential that they use strategy as a way of determining and ensuring their success. I will explore the strategies of UK based festivals, The Glastonbury Festival and the T in The Park festival, and compare and contrast these strategies to come to a decision as to whether the strategy adopted by Glastonbury would be an appropriate strate gy for T in the Park. We will write a custom essay sample on Compare and Contrast strategies: Glastonbury v T in the Park or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Since its first beginnings in 1970, The Glastonbury Festival has developed and changed its strategy over the years to meet the needs of its growing number of attendants. The festival has progressed from having â€Å"1,500 hippy revellers gathered on a farm† (Exploring Strategy: Johnson, Whittington, Scholes 2011) to now being considered as â€Å"the largest greenfield festival in the world† (BBC news article, June 2013) catering for around 100 times more bodies than in its first year. This can be seen to provide evidence that the festival’s strategy has been successful as there has been clear growth in the size of the event and numbers of attenders. In its early days, Glastonbury’s main concern was to offer the hippy culture a weekend of entertainment as a means of supporting charity. Today, the strategy has developed into offering a wide ranging genre of music to accommodate the differing audiences that now attend the event. According to The Glastonbury Festival website â€Å"Youll meet all kinds of people, of all ages, backgrounds, nationalities, lifestyles, faiths, concepts of fashion and musical taste†. This is in contrast to Scottish festival T in The Park (TITP) as when T in the Park started out in 1994, its main aim was to attract a young and local audience and to this day the strategy has stayed consistent with TITP still aiming to attract the younger population and sticking to its roots. With reference to Porter’s five forces framework, both The Glastonbury Festival and TITP are faced with the issue of competitive rivalry. As the music festival industry is ever-growing, with there being more than 670 events in Britain alone (The Guardian: Warman August 2010), the two festivals have to incorporate the threat of their competitors into their strategy. As the bad weather is an issue facing both festivals, festival goers may decide to attend events abroad where they are guaranteed sunshine and high tempratures for the weekend. A report by YouGov Sixth Sense in November 2012 revealed that 54% of people who had attended a festival in the past would not go again in 2013 with the main reason being because of bad weather and muddy fields for 18%. Also, it was revealed that 57 festivals were cancelled in 2012 due to bad weather conditions (AGF Blog, EFestivals, Challis September 2012). Providing people still wish to attend a festival but want to avoid the poor weather, competitors abroad offering this experience will steal Glastonbury and T in the Park’s customers, exposing them to the danger of competitive rivalry. This is one way in which the two festivals have similarities in their strategy. As TITP is predominantly aimed at the younger generation, with the majority of attendance coming from those aged 18-25 according to Geoff Ellis from DF Concerts, its strategy is in contrast with that of the Glastonbury Festival as its stakeholder focus is different because, generally, Glastonbury’s clientele are older. With regards to stakeholders, TITP’s customers have a relatively high level of power in influencing their strategy. Reason being that, because TITP’s customer base are primarily aged 18-25, the acts that perform at the festival have to reflect this. For the last 4 years the headliners at TITP have included the likes of Rihanna, Mumford and Sons, David Guetta, Artic Monkeys and Eminem (T in the Park Website) whereas Glastonbury’s headliners have been geared towards an older audience with headliners including U2, Stevie Wonder and The Rolling Stones (Glastonbury Website). This illustrates how the festivals’ strategies would be different. Furthermore, the power of TITP’s customers in influencing their strategy can also be seen in the security at the event. At TITP the security is stricter than Glastonbury in the sense that they are lesstolerant with alcohol. You are not permitted to take alcohol into the arena at TITP whereas, at Glastonbury, you are. This reflects upon the age of the audiences at both festivals and will affect each strategy. Crime is a universal concern that is not limited to one festival alone, therefore this introduces another similarity between both festivals’ strategies. The problem with anti-social behaviour and drug use is an issue faced by both festivals and one that needs to be addressed in the strategy of the organisations. The police made the decision bring in drug bins to T in the Park’s 20th anniversary weekend this year following the death of a teenage girl who was the seventh victim of fake ecstasy pills that were being dealt in Scotland (The Independent, 2013). Even in Glastonbury’s early days it was not uncommon for police to witness drug deals in and near the festival (Exploring Strategy: Johnson, Whittington, Scholes 2011). As health and safety is important and crucial in ensuring the success of both festivals, both have a comparison in their strategy. In my opinion, there are many elements of the Glastonbury Festival’s strategy that could be applied to T in the Park’s strategy also. For example, their strategies would need to be similar in order to overcome competitive rivalry and threat of substitution. So too would it need to be similar in order to combat the problem of drugs as there would need to be high security planned at both events. However, there are also many aspects of Glastonbury’s strategy that are different and could not be applied to T in the Park. Reason being that Glastonbury operates at a slightly larger scale than T in the Park so its strategy has to reflect this. Also, as mentioned earlier in the essay, the target market for both festivals is somewhat different and so the events will be advertised differently to some degree as well as the acts being chosen accordingly to the audiences at each event. Both festivals have different strengths and weaknesses and their strategies must echo this. Although I believe there are some aspects of the Glastonbury Festival’s strategy that could be applied to TITP, overall they both have different individual strategies to suit them.